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The visual image of a person: The e...

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The visual image of a person: The essentialist and comparative approaches.

Record Type:	Language materials, printed : Monograph/item
Title/Author:	The visual image of a person: The essentialist and comparative approaches./
Author:	Verchinina, Lilia.
Description:	203 p.
Notes:	Source: Dissertation Abstracts International, Volume: 70-02, Section: A, page: 0710.
Contained By:	Dissertation Abstracts International70-02A.
Subject:	Art History. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=NR46442
ISBN:	9780494464427

The visual image of a person: The essentialist and comparative approaches.
Verchinina, Lilia.

The visual image of a person: The essentialist and comparative approaches. - 203 p.

Source: Dissertation Abstracts International, Volume: 70-02, Section: A, page: 0710.

Thesis (Ph.D.)--University of Alberta (Canada), 2008.

Do Byzantine iconoclasts and modern artists have anything in common? Looking back at the Byzantine iconoclastic debates of the eighth and ninth century, I define iconoclasm not as a negative reaction to the visual image in general, but as a rejection of pictorial human representations based on the belief that appearance cannot adequately express the complex essence of the human being. The Byzantine iconoclasts believed that icons---portraits of God, the Virgin Mary, and the saints---portrayed only what was seen, and failed to depict the hidden inexpressible component of a person. They instead suggested images of people which would represent each person in his or her entirety, not only the person's futile appearance. These kind of images included virtues, deeds and verbal descriptions. The Byzantine iconoclastic debates highlighted the intimate link between portraits and the problems of personhood, raising the key question: What, exactly, is a person? The same issues were raised once again in the artistic disputes surrounding the invention of photography. On a more fundamental level, this conflict, however, was not one about art and photography, but about the most effective means of grasping the essence of things. The belief in the hidden essence of a person (or a thing) actually unites artists with photographers regardless of their modes of expression. Furthermore, that belief binds artists and photographers with the Byzantine iconoclasts under the same essentialist approach. In this dissertation, I argue that the essentialist attitude towards person is based on the Platonic opposition of the external versus the internal. That opposition may be also observed in modern concepts of identity and subjectivity, which too are traditionally essentialist.

ISBN: 9780494464427Subjects--Topical Terms:

635474
Art History.

The visual image of a person: The essentialist and comparative approaches.
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035 $a (UMI)AAINR46442
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100 1 $a Verchinina, Lilia. $3 1026612
245 1 4 $a The visual image of a person: The essentialist and comparative approaches.
300 $a 203 p.
500 $a Source: Dissertation Abstracts International, Volume: 70-02, Section: A, page: 0710.
502 $a Thesis (Ph.D.)--University of Alberta (Canada), 2008.
520 $a Do Byzantine iconoclasts and modern artists have anything in common? Looking back at the Byzantine iconoclastic debates of the eighth and ninth century, I define iconoclasm not as a negative reaction to the visual image in general, but as a rejection of pictorial human representations based on the belief that appearance cannot adequately express the complex essence of the human being. The Byzantine iconoclasts believed that icons---portraits of God, the Virgin Mary, and the saints---portrayed only what was seen, and failed to depict the hidden inexpressible component of a person. They instead suggested images of people which would represent each person in his or her entirety, not only the person's futile appearance. These kind of images included virtues, deeds and verbal descriptions. The Byzantine iconoclastic debates highlighted the intimate link between portraits and the problems of personhood, raising the key question: What, exactly, is a person? The same issues were raised once again in the artistic disputes surrounding the invention of photography. On a more fundamental level, this conflict, however, was not one about art and photography, but about the most effective means of grasping the essence of things. The belief in the hidden essence of a person (or a thing) actually unites artists with photographers regardless of their modes of expression. Furthermore, that belief binds artists and photographers with the Byzantine iconoclasts under the same essentialist approach. In this dissertation, I argue that the essentialist attitude towards person is based on the Platonic opposition of the external versus the internal. That opposition may be also observed in modern concepts of identity and subjectivity, which too are traditionally essentialist.
520 $a The aim of my research was to put forward an alternative, comparative, approach to person. This alternative, admittedly, has already been proposed by the Byzantine defenders of icons, who explained that icons do not even attempt to unveil any sort of hidden essence. Instead, they identify people, distinguishing each of them from all others. The visual plays the key role here---it may not reveal anything hidden, but it does not conceal anything either. Based on the difference, but not the essence, the visual simply distinguishes one person from another.
590 $a School code: 0351.
650 4 $a Art History. $3 635474
650 4 $a Sociology, Theory and Methods. $3 626625
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773 0 $t Dissertation Abstracts International $g 70-02A.
790 $a 0351
791 $a Ph.D.
792 $a 2008
856 4 0 $u http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=NR46442